Friday, September 26, 2014

Guest Review: The Parallax View (1974)

by ScottDS

In the wake of Vietnam, Watergate, and several assassinations, Hollywood films began to reflect a more cynical and paranoid culture, where the enemy was often not out there but perhaps right next door. Thus was born the conspiracy thriller. People often mention Three Days of the Condor, All the President’s Men, and Marathon Man, along with lesser-known films like Executive Action and Twilight’s Last Gleaming. But for me, the most unsettling film of the bunch is The Parallax View.

Presidential candidate Charles Carroll is assassinated at the top of the Space Needle. An armed man is chased and falls to his death, but another armed man gets away. A Congressional committee determines that the assassination was the work of a lone gunman. Three years later… one of the witnesses, TV reporter Lee Carter (Paula Prentiss), visits her ex-boyfriend, newspaper reporter Joe Frady (Warren Beatty). She explains that a number of witnesses to the assassination have died under mysterious circumstances – she fears she’s next. A short time later, she’s found dead and the police label it a drug overdose. Frady decides to investigate and finds himself in the small town of Salmontail where the sheriff tries to kill him near a dam as its floodgates open. Frady gets away and discovers documents in the sheriff’s house relating to the mysterious Parallax Corporation. Their stock in trade: recruiting assassins. Frady also talks to Carroll’s aide Austin Tucker but the boat they’re on explodes. Frady, presumed dead, applies to Parallax under an alias.
Frady is accepted for training at Parallax in Los Angeles. Apparently, he’s just what they’re looking for: a social malcontent with a chip on his shoulder. He’s shown a montage juxtaposing imagery (Americana, dictators, presidents, children, etc.) with words like “love,” “country,” and “enemy.” In the lobby of the building, Frady spots the gunman from the Space Needle and tails him to the airport. The man checks a suitcase but doesn’t board the plane. Frady manages to get aboard and slips a note to the flight attendant hinting at a bomb on board. The plane returns to the airport… as Frady and the other passengers walk away, all we hear is an off-screen boom. Frady’s investigation finally takes him to a political rally for candidate George Hammond. From the rafters, he spots several Parallax men disguised as security personnel. Shots ring out, Hammond is killed, and Frady is spotted. He makes a run for it but is killed by an unknown silhouetted figure. A Congressional committee pins Hammond’s murder on Frady.
There is a palpable sense of dread that surrounds this movie. It’s based on the 1970 novel by Loren Singer, who was inspired by the allegations of suspicious deaths of witnesses connected to the Kennedy assassination. The film was produced and directed by Alan J. Pakula who had previously directed Klute and would later direct the aforementioned All the President’s Men. (He also produced To Kill a Mockingbird.) I admit this film has lost a little bit of its impact in subsequent viewings, but the first time I watched it, I thought it was very effective. (It pretty much still is.) It does require some suspension of disbelief and if you’re looking for answers, you won’t find any. Only the political assassinations occur on-screen; we never see the other deaths. We also never get an official explanation about the Parallax Corporation and its activities. What are their goals? How do they get paid? Were they on to Frady the whole time? Who the hell knows? It’s all very… minimalist.
In Directing 101, they tell you that every element – art direction, cinematography, music, etc. – is there to serve the story, and this is one movie they can use as an example. The film was shot by Gordon Willis, who was known as “the Prince of Darkness.” (He also shot President’s Men and The Godfather trilogy.) This film has a naturalistic, moody style, with Beatty frequently dwarfed by his surroundings. There are shots toward the end of the film… mundane things like escalators and tile ceilings, but they way they’re framed (in full anamorphic widescreen), they take on a slightly more sinister appearance. Michael Small’s sparse score contributes to the uneasy feeling. There’s a theme, which works as a twisted anthem. The assassinations aren’t scored at all, nor is the sequence on the plane. And then there’s the Parallax test, which is given a folk melody with a male hum. The test took four months for the filmmakers to research and edit and it’s simple yet a little unnerving. (In the novel, the lead character simply reads words while his reactions are monitored with a special eyepiece.) And the first time I watched this, I nearly jumped out of my seat during the dam scene when the floodgate alarm goes off.
The acting is top-notch all around. This was Beatty’s first film after dabbling in politics (he worked on George McGovern’s 1972 presidential campaign). I’m no Beatty expert – aside from Dick Tracy – but he’s very good, appropriately low-key and schlumpy. The doe-eyed Prentiss is only in the movie for ten minutes but her tragic performance certainly makes an impact. Frady’s ill-fated editor is played by screen veteran Hume Cronyn, Frady’s Parallax rep is played by stage actor Walter McGinn, and Anthony Zerbe and Kenneth Mars both make brief appearances. William Daniels plays Austin Tucker and he’s nothing but paranoid. A brief note: like many 80s/90s kids, I grew up watching Daniels as Mr. Feeny on Boy Meets World. In addition to his voice work on Knight Rider, he was a prolific character actor. I particularly enjoy his appearances in two other Paramount films from the period: The President’s Analyst, in which he plays a liberal suburbanite, and Black Sunday, in which he plays a VA bureaucrat.

There might be a 70s vibe to the movie at times – the plane/bomb scene might be the most dated for obvious reasons – but it still holds up, though it’s not mentioned nearly as much as similar films from the period. I have no idea why. It’s very low-key, the character relationships are all very understated, and there’s no partisanship. (Frady doesn’t place blame on our government or any particular politician, and the Parallax Corporation goes after people of all stripes.) Pakula’s stated intention wasn’t to trash America but to simply ask what happened to it.

“We're in the business of reporting the news, not creating it.”

(Special thanks to Film Score Monthly’s online liner notes by Scott Bettencourt and Alexander Kaplan for the behind the scenes trivia.)
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Wednesday, September 24, 2014

TV Review: Once Upon A Time (2011 - ???)

Once Upon A Time is a television series beginning its fourth season on ABC. The first three seasons are currently available for binge-watching on Netflix. I’m actually not 100% sure I should recommend Once to you. Let’s put it this way, while I do enjoy the series a great deal, it has all the weaknesses that are typical of broadcast network productions and those rob the show of its punch. In effect, they prevent the show from feeling real enough to grab you or fantastic enough to be a wild ride.

The premise of the show is genius. Imagine if every storybook character you can think of, from Snow White to Captain Hook to some major surprises in between lived in the same enchanted forest and basically knew each other. Now imagine if all those characters were suddenly transported to our world, to live in a town named Storybrooke in Maine. Only, none of these characters has any memory of who they really are. The one exception is the evil Queen who cast the curse which brought them all to Storybrooke. She's made herself the mayor.
That has serious potential.

The story is largely presented through the eyes of Emma Swan (Jennifer Morrison), who is the daughter of Snow White and Prince Charming. She was sent to our world to avoid the curse and save the rest of them. She, however, has no idea about any of this, nor does she believe it when she is told. Her only concern is Henry. Henry is the son she abandoned when she was young, and he lives in Storybrooke. He tells Emma about her destiny and shows her a book of fairy tales as proof that everyone in Storybrooke is from a fairy tale. Incidentally, he has been adopted by the evil Queen, who is raising him as her adopted son.
The episodes themselves involve Henry’s attempts to get his real mother to help him break the curse and free the people of Storybrooke so they can return to the enchanted forest. Each episode typically involves two stories being told simultaneously. The first is the advancement of the story in Storybrooke. The second involves the telling of some character’s backstory. If this sounds like Lost, that’s because Once was created by Lost writers Edward Kitsis and Adam Horowitz.
The backstories are interesting for several reasons. First, they tell you who the characters in Storybrooke really are. Secondly, they tend to take the stories we all know and twist them around. For example, we learn that Red Riding Hood is really a werewolf. We learn how Hook lost his hand. We get the story of who Prince Charming really is and how he came to marry Snow White, and we learn the sad fate of Stealthy the Dwarf... the eighth dwarf. Moreover, these stories are all intertwined and that intertwined thread is largely told backwards as we discover how Rumpelstiltskin manipulated each of their histories for his particular purpose. This makes for some nice twists.

All told, each episode is entertaining, though some are better than others. Several of the characters are really quite excellent as well. In particular, the evil Queen (Lana Parrilla) is excellent. She’s complex and interesting and you never quite know when she will be evil or when she will try to be good. Parrilla does a great job too of portraying a woman who is simultaneously wildly out of control and incapable of taking NO for an answer, and yet a woman who desperately seeks affirmation from other people. Even better, noted actor Robert Carlyle (Trainspotting) plays Rumpelstiltskin, who is the heart of this show. Rumpelstiltskin is the evil force behind everything that has happened. He is a joy to watch as he manipulates everyone and demonstrates an utter lack of conscience. Minor characters like Grumpy the Dwarf and Hook are excellent as well, as is young Henry (Jared Gilmore).
Unfortunately, the show does have some problems. Some of the actors simply aren’t strong enough to carry the roles they are given. For example, the actor playing Prince Charming (Josh Dallas) is a lightweight who doesn’t come across as a capable leader. Emma, the lead, isn’t all that interesting either. She’s largely a placeholder to let the other characters do their thing. Snow White (Ginnifer Goodwin), another lightweight, is hard to believe too the way they present her.
Even worse, the show suffers from being produced for broadcast network television. Because it is being made for ABC, the production values are low. The CGI looks horrible on a big screen. Most of the sets feel like television sets rather than real places. Little in the show feels like it actually exists. Further, the show still panders to the broadcast view that each show must be broken up into acts, which are then separated by television commercial breaks. Thus, the demands of the story often feel like they are subsumed to the medium and each commercial break ends on a phony cliffhanger.

If you compare this to the better network productions, like those made by HBO or AMC, you will be struck immediately by the higher production values on cable. The film quality on those shows is that of film stock rather than the made-for-TV video like Once uses. This makes a huge difference in the “real” feel of the productions. Further, the cable networks rarely let commercial breaks dictate the pace of the story, and they will simply stop for a break rather than forcing in an unnatural cliffhanger. The result is that the cable shows feel more realistic, like they involve real people rather than actors. Moreover, the other networks aren’t afraid to interject more complexity. People die every episode on HBO. Lovers have sex and betray each other. Evil people do evil things which hurt people. And good characters are routinely presented with complex and difficult moral choices that rarely offer easy solutions.
Once has none of that. To the contrary, Once plays by network rules which tell you that main characters cannot die, evil must be cartoonish and incompetent, moral questions need to be obvious with easy solutions, and life’s underside has no place on screen. At times, I really wonder what HBO would have done with this amazing idea.

So ultimately, I would say that Once is an entertaining show that leaves a ton of potential on the table. It’s still worth watching, but it could have been awesome if it had been freed from the restrictions that still seem to haunt network broadcast television.
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Tuesday, September 23, 2014

Is Disney’s Princess and the Frog Racist?

In its whole history, Disney has never had a black princess, at least until 2009 when it released The Princess and the Frog. But The Princess and the Frog is not a cause for celebration, claims the aggrieved-left, because the film is racist! Only, it’s not.

The Princess and the Frog is the story of Tiana, a black woman from New Orleans circa 1930s. She is a talented cook with dreams of opening her own restaurant, a dream she got from her father who has since passed. The story opens with Tiana working hard in a restaurant to save up enough money to buy an abandoned building to start her restaurant. She has finally saved enough! Hurray! Only, she's told that another buyer has appeared and she has only twenty-four hours to raise her offer, something she cannot do. Boo!
Tiana's friend is a spoiled, rich white girl named Charlotte, who wants to marry a prince, and it just so happens that a prince has come to town. This is Prince Naveen, who has been cut off by his family because he’s worthless and lazy. He and Charlotte are a perfect match -- he has the title, she has the money. However, the next time Tiana meets Naveen, he has been turned into a frog by a Voodoo witch doctor, who is plotting with Naveen’s servant to replace the prince, marry Charlotte and steal her fortune. Naveen convinces Tiana to kiss him to change him back into human form so he can prevent this. In exchange, he promises to buy her the restaurant. She agrees, but when she kisses him, she turns into a frog herself.
At this point, Naveen and Tiana must venture into the swamp to find Voodoo priestess Mama Odie so they can become human again. Accompanying them are Ray, a Cajun firefly, and Louis, a trumpet-playing alligator who wants to play jazz with the humans. Trying to stop them are the witch doctor and his army of shadow creatures.

All in all, this was an excellent Disney film, easily the best after a miserable decade for Disney. The story is fast paced and relatable despite being both ethnic and deeply Louisiana. The art work is beautiful. Bits of the film are clever. And the songs are well done in a Broadway sort of way, which is greatly appreciated after Disney’s two decade use of ultra-bland, entirely forgettable corporate pop, like the song Elton John and Phil Collins kept passing off as different songs throughout the 1990s.
So what could possibly be racist about this? Well, that’s a good question. Several attacks were made on this front. Some argued that it was racist that Disney's first and only black princess wasn’t born a princess and had, instead, to marry into it. Others argued that the film used black stereotypes. Neither argument is valid.
That Tiana isn’t a princess is a key plot point which makes the story work. It isn’t meant as a sleight or to devalue her character either. To the contrary, her character is easily the most noble in the story. Nor is there any suggestion of a racial component to her lack of princess status. In other words, there isn’t a single suggestion, spoken or implied, that her race is the reason she isn’t a princess to begin with. And it’s not like all Disney females are princesses (see e.g., Penny, Jenny, Alice, Eilonwy, Meg, Jane). Essentially, the only way to see the decision to start her as a commoner as being a decision based on race is to assume that based on her race alone.

The stereotype argument is even worse. For one thing, there are no negative black stereotypes presented. Each of the black characters is presented as smart, capable, and (except for the villain) strongly pro-family and pro-community. Nobody is living on welfare, selling drugs or having kids out of wedlock. Nor are there any presentations that fit the “Uncle Tom” mold. The closest would be Tiana’s mother, but she’s not a servant; she’s an ultra-talented seamstress and business owner.
Indeed, the more you look, the harder it becomes to find any black stereotypes. What you see instead are Louisiana stereotypes aplenty. You have toothless Cajuns, everyone being a jazz player, voodoo princesses and witch doctors, corrupt-but-lovable parish politicians, gumbo-lovers, etc. Similarly, you have all the trappings of New Orleans: the bayou, gumbo, riverboats, the light rail, gators, etc. Everything in this film is regional rather than racial.

I think where the “racist” argument springs from is the idea that it’s somehow racist to show blacks in roles they occupied historically if they are shown to be happy and not the victims of white oppression. Hence, the fact that Tiana doesn’t struggle against white oppression offends the aggrieved left as a whitewash. That is ridiculous, however. In fact, if you think about it, this argument would relegate every black story to being about white racism, and blacks could never tell their own stories without the focus being on whites. Now THAT would be racist!

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Wednesday, September 10, 2014

Film Friday: The Hunger Games (2012)

The Hunger Games proved quite a sensation. Millions of kids the world over fell in love with the story and its heroine Katniss. It was only natural they would make a movie, and make they did. They eventually made four movies and this was the first. Interestingly, a lot of conservatives love this series, but I don’t see anything conservative going on in this particular film.


The Hunger Games takes place 74 years after some sort of nuclear civil war in the United States resulted in the separation of the country into a twelve districts (a thirteenth is mentioned, but is also mentioned as having been destroyed) under the dictatorial control of a central power. The country is called Panem, but few details about it are given. The film doesn’t even tell you where this central power resides, though you are told it is called “the Capitol” and it has the look of a fantasy version of Washington state.
The story focuses on a young girl named Katniss (Jennifer Lawrence). She lives in what was once West Virginia, where they mine coal which gets supplied to the Capitol. As the story opens, a group of “Reapers” shows up in Katniss’s district – District 12. They have come to run a lottery from which one boy and one girl will be chosen. Those kids will be taken to the Capitol, where they will fight to the death in a game of survival called “The Hunger Games.” This game was created as a punishment for the other districts for rising up against the Capitol and has continued on as a sort of bread and circus tool for controlling the population.
During the lottery, Katniss’ little sister is chosen, but Katniss volunteers to take her place. For the boys, a useless son of a baker is chosen, who just happens to have a long term crush on Katniss. They are taken to the Capitol by high speed train (thanks Obama!), where they meet the other kids, several of whom have been illegally trained their whole lives for this event... providing the richer districts with an advantage. Katniss’s district has never won.

The children are then trained and paraded before television audiences. They are told to be likable so that sponsors will send them critical gifts during the game. They are also taught martial arts. It turns out, by the way, that Katniss has superior skills to the other kids.

Finally, they are dumped into a forested area and told to kill each other off.

A Good Movie, But Hardly Conservative

I’ve heard a lot of conservatives, particularly libertarians, who identify with these books and swear they have libertarian overtones. That may be true of the books, but this film really doesn’t have political overtones. Apart from some vague populist finger pointing at a fantasy centralized power dominating the country in some future dystopia, there is virtually nothing political in this film, and certainly nothing that would qualify as a coherent political statement. Indeed, none of the characters fights for freedom. None of the characters even talks up freedom. The theme of abuse of power is barely explored, except as a plot device to heighten the challenge Katniss faces, and the theory of how concentrated power leads to abuse is entirely absent from the film. In fact, objectively speaking, we don’t even know that this government is particularly abusive except for the Hunger Games itself and the disparity of wealth between the various districts.
Moreover those things which are political tend to be generic liberal tropes, like all the bad kids being rich and Caucasian, whereas the good kids are minorities. This is combined with another liberal trope, the Magic Negro trope, where the sole reason black characters exist is to aid the white protagonist in finding their humanity... you have three of those here (two kids who sacrifice themselves to save Katniss in the game and Lenny Kravitz who exists to tell us how special she is).

So, as far as the film goes, there is nothing particular conservative going on.
In terms of the film itself, the film is shot with a high degree of quality. The camera work is excellent, the effects are solid and the acting is good. The film is well paced. The story itself is solid, if simplistic – essentially, this is a film about people hunting each other in the woods and the rest is just characterization. The characters feel unique (the unique costumes help a good deal with this) and they feel whole, as if they have strong backstories, even though you don’t delve into those. The action is good, though there is nothing truly spectacular. There are a couple holes, but nothing that will stick out to you as you watch the film.
The film does have a couple flaws, but they are minor. For example, parts of the film could use more explanation. One such part involves the sponsors. The film spends considerable time telling you the importance of winning over sponsors so they can send the contestants vital gifts during the game, and Katniss does ultimately receive two life-saving gifts. Unfortunately, the film never explains the mechanics of this, such as how many sponsor there are or the limits of what they can send. The end result is that something the film builds up considerably feels underused and you wonder why the contestants aren’t awash in more and better gifts.

Another issue that is both a positive and a negative involves this being the first film in the series. On the one hand, this film feels complete and it doesn’t seem to spend any time setting up the sequels. I appreciate that as too many films like this feel hollow and incomplete as they spend all their time setting up sequels with introductions that won’t pay off during the film. On the other hand, this story by itself doesn’t offer all that much to make you want to revisit the film. Indeed, I suspect the re-watchability of this film will depend entirely on the re-watchability of the sequels.

Ultimately, this film doesn’t feel particularly consequential, nor is it particularly deep, nor does it leave you much to think about after you leave the theater, but it is a good film that is worth seeing. I don’t really see the political appeal for conservatives except for a general lack of liberalism, but I suspect there is more in the books that didn’t translate to the film.

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Friday, September 5, 2014

Summer of Films: Escape Plan (2013)

Stallone and Schwarzenegger are back together again! It’s too bad their film stinks. Indifferent writing. Indifferent acting. Uninteresting settings. Weak action. Yawn. This was disappointing.


Ray Breslin (Stallone) has a talent for escaping from prisons. He’s so talented that the Department of Justice hires him to break out of supermax prisons so he can show them their weaknesses and they can correct them. Indeed, the film opens with him doing just that, though his escape stretches credulity.

Soon enough, Breslin finds himself visited by the CIA. Because they can’t “rendition” the worst of the worst anymore, they need a new system to hold the people who should never be allowed to see the light of day. To that end, they’ve contracted with a private sector company to build a prison where they can make these people disappear. Naturally, they want Breslin to attempt to break out of the prison to test their new system.
Stallone agrees even though they won't agree to any of his normal safety protocols. Of course, the minute he finds himself in the prison he learns that he has been betrayed and that someone wants him "disappeared." He also discovers that the warden is cruel and the guards are sadists who maintain control by beating prisoners. What's more, they built this prison using all of his ideas from his book on how to build an inescapable prison. Now he must break out or spend the rest of his life stuck in this prison. Helping him in this regard is another prisoner: renown assistant cyber-terrorist Rottmayer (Arnold Schwarzenegger). Can Stallone escape and regain his freedom? Take a guess.

Why This Film Stunk

In 1989, Stallone did a film similar to this. It was called Lock Up. In that film, he was a minor convict and model prisoner whose time was up, but the warden wanted to punish him after he went to the press about the warden’s treatment of prisoners. This caused the warden to try to set up Stallone to spend the rest of his life in prison, which leads to a sort of prison escape film/revenge film. Lock Up had solid motivations, strong emotions and high stakes. It may not have been the best film ever, but it got your attention.
The problem with Escape Plan is that it never really captures your interest. For one thing, this film is entirely predictable. You know Stallone is being set up the moment he agrees to take the assignment. You know Stallone will eventually escape. It’s just not possible that these things won’t happen. Moreover, throughout, you know when Stallone will be punished. You know when he will learn whatever he needs to learn to escape. You know who his friends will be, who will betray him, who he will kill and how it will all end. There are two twists, but they are so incidental to the plot that they have no impact. It’s hard to feel any tension when you know how each scene will end all throughout the movie.

The characters aren’t very interesting either. Arnold plays Arnold the action hero. He technically has a character, but it’s purely incidental to the movie and it’s nothing you care about, and you know he's never in any danger. Ditto on Stallone. James Caviezel plays the warden. Normally, I’m a fan of his, but here he plays the character so indifferently that he almost seems like a robot at times. There are other characters, but you won’t remember any of them.
The writing is really poor too. There isn’t a clever or memorable line. There isn’t a moment of insight. For a man who supposedly is a master of escaping from prisons, there’s no moment where he tells you something you don’t already know about prison, about the human state of mind as a guard or a prisoner, or even about how he perceives the world. Basically, every line of dialog is transactional: “I need to get into that room.”

The action isn’t very interesting either. For the most part, the action is entirely asymmetrical. Thus, the guards easily beat up the good guys when they want to. When the good guys escape, they easily crush the guards. Then in the final shootout, the good guys mow down dozens of guards without any real risk to themselves. There is never a fight where you don't know the outcome the moment it begins, and at no point is there any fight which feels like a payoff.
So what you have here are characters you don’t care about, a story that means nothing to you, a story you can predict moment by moment, fights with no tension, and an utter lack of cleverness and nothing memorable to take from the film. The end result is a film that is entirely devoid of tension and interest.

Frankly, Stallone can and should do a lot better. Stallone is a capable actor with a good deal of charisma who should be picking much more interesting projects at this point in his career.

Finally, as an aside, this film also has whiffs of politics that aren’t appreciated. It seems to be assumed that the CIA is evil. The CIA tortures prisoners. The prison guards are sadists. The worst of the worst are all Caucasians, with the one Islamist turning out to be a noble heroic character. The “good guy” (Arnold) has invented a plan to destroy the world’s banks. None of this was shoved in your face, but in a film with little else to hold your interest, these little leftist tropes became rather annoying.

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Wednesday, September 3, 2014

Summer of Films: Flight (2012)

Normally, I’m a fan of Denzel Washington. He has a compelling screen presence and his films tend to maintain a certain level of quality which I appreciate. Flight sounded like more of the same. It’s not. I really, really hated this film. Let’s discuss the disaster that was Flight.


Flight is the story of airline Captain Whip Whitaker (Denzel Washington). The film opens with Denzel awaking in a hotel room with a Brazilian supermodel. They’ve been fooling around. He’s drunk and probably high, but his phone is ringing. He is being called to fly a commercial airliner from Orlando to Atlanta. He doesn’t look good... but one line of coke later and the soundtrack kicks out “It’s Gonna Be All Right” from Gerry and the Pacemakers and Denzel is good to go.
He boards the plane and addresses the passengers from the galley. As he does, he empties three vodkas into an orange juice bottle he’s drinking. He returns to the cockpit and takes off into a storm. As they take off, he needs to gun the engines beyond safety protocols to push his way through the storm to a clear patch. After that, he falls asleep and lets his co-pilot take over.

Denzel wakes up a few minutes later as the plane starts a nosedive. The hydraulics have failed and the plane is headed straight down. To save the plane, Denzel inverts it and flies upside down, which lets him straighten the plane just long enough to glide it in for a survivable crash. Only six people die.

Denzel wakes up in the hospital. Despite saving 105 people with a maneuver that we are told no other pilot could have done, Denzel learns that he’s suddenly the villain because the NTSB has taken a blood sample and found that he was super drunk and high on cocaine. They want to send him to jail. This will all happen at a final NTSB hearing. Fortunately, Denzel’s lawyer gets his toxicology report suppressed, so all Denzel has to do at the hearing is deny that he was drunk. But when the NTSB decides to accuse one of the dead stewardesses of having drunk the vodka, Denzel grows a conscience and announces that he drank them and that he is an alcoholic, even though this means decades in prison for him.

Why This Film Stunk

Directed by Robert Zemeckis, this film won some awards and made $161 million on a $31 million budget, but I still despise it. Why? Well, for starters, the plot I described above sound pretty good, doesn’t it? Sure it does, only I left something out. The plot I described above takes up about 15 minutes of film time... but the film is 138 minutes long. So what happens in the other 123 minutes? Filler.
In several painfully long and slow scenes, we see Denzel throw away all of the hundreds of alcohol bottles he’s hidden around his house as well as the pot and the pills. He stares meaningfully at each and we stare with him. But you know how it is with alcoholics, so naturally we are treated to him buying more and we tearfully watch as he struggles not to drink any of it. Then he drinks it. Even worse, for reasons completely unknown, Denzel meets a woman who is a drug addict whose life is utterly boring and falling apart and the director thinks it’s a great idea to bring them together to be boring together... and we get to watch all of it. Yawn. I honestly contemplated skipping through those scenes after a while.

But that’s not even the worst sin in the movie. The bigger sin is the feeling that the whole thing is nonsense. It’s clear that whoever wrote this has no idea how the NTSB really works. They had no idea what brought down the plane or how to describe it to the audience. They had no idea what the NTSB does when it investigates. They didn’t seem to realize that the NTSB would be much more interested in finding out why the hydraulics failed than they would be in proving that Denzel had been drunk and high when he saved the plane. The sad result is that what could have been an interesting mystery about a plane crash with a good deal of tension as the question of his sobriety waits to be discovered at any moment turns into a nonsensical witch hunt in which the NTSB doesn’t care at all about what caused the plane to crash.

Nothing else makes sense either. The press seems to view him as a villain even though they apparently don’t know about his being intoxicated – as far as they should be concerned, he worked a miracle. Denzel has a friend (John Goodman) who can show up seemingly instantly and at will to give him drugs. After drying him out for a week, Denzel’s lawyer and best friend put Denzel into a hotel suite the night before the hearing. They have carefully removed all the alcohol from the minibar. Yet, magically, in the middle of the night the adjoining door to the next suite just happens to open, letting him into the empty neighboring room where he discovers the minibar and he goes hog wild; he goes to the hearing drunk and high on cocaine. Queue Gerry and the Pacemakers again.
The film creates fake tension by having Denzel fight with his lawyer (Don Cheadle) for no reason that makes any sense. Cheadle, by the way, is presented as a good guy even though he violates the rules of ethics in major ways that should easily lead to his debarment, including knowingly putting Denzel on the stand to lie. We are introduced to the evil airline owner who hides the fact from Denzel that he might go to jail... something everyone including Denzel already knows. Denzel pressures a stewardess to lie for him when the reality is she couldn’t have testified to what he wants her to avoid saying anyway. Not to mention, there's no payoff as we never see her testify.

Then we have the ending. The NTSB has been after Denzel, or so we are told as we never actually hear anything except through Denzel’s friends... show don’t tell, folks. But Denzel’s lawyer has gotten the toxicology report suppressed. So there is no alcohol issue anymore the NTSB can use to get Denzel. So they should now focus on the plane crash, right? Nope. The NTSB now seems determined to accuse a dead stewardess of being an alcoholic and having drunk the vodka Denzel did. Why? What does the NTSB care if a stewardess was drunk (a stewardess who was a heroine because she saved a boy who had slipped out of his seat when the plan inverted)? This is nonsense. The real NTSB will want to know why the plane crashed, not if a stewardess was drunk. Moreover, they will know that Denzel was drunk, even if they can't put it into the report. So why smear a stewardess? Further, as Denzel has been established as being both ultra-selfish and desperate to avoid prison, why would he care if they accused her of drinking the three vodkas? There is no way that draws a confession from him.
This movie made my head spin in bad ways. It was obvious the writer didn’t grasp the subject matter of airplane crashes or how the NTSB works. It was obvious the writer didn’t understand his characters. This feels like an attempt to grab an Oscar for playing drunk and the airplane crash was incidental to that. The film is packed with deus ex machina too... too much coincidence. Too much happens off screen - almost everything actually. The director mistook boredom for gravitas. And finally, the film was packed with clichés.

Take for example, the use of “It’s Gonna Be All Right” whenever Denzel cokes up and suddenly fills with energy and confidence. This has the feel of having been done a million times. The scene with the evil boss, the portrayal of alcoholism, John Goodman’s entire character... these are all things you’ve seen a million times before and none of them feel fresh.


I like Denzel. I like Zemeckis too. But this was a disaster. It was boring. It was stupid. The only good bit was the airline crash itself, which was impressive CGI work, and they even had to ruin that with an impossibly clear “cell phone” video of the crash.

[+]

Thursday, August 28, 2014

The Film Guide

I've decided to release the film guide. It's called "The Conservative Guide To Films" and it contains a ton of information that will absolutely surprise you, as well as some hopefully insightful discussions of liberal and conservative films. You can buy it at Amazon here: LINK! (Paperback to come.) Enjoy!

Hollywood defines modern American culture, and culture defines "normal." It is through our culture that we pass our values and our beliefs from one generation to the next. By shaping our culture, Hollywood influences the way people see the world, how they solve their problems and to whom they look for solutions. It tells people how they should live, how they should act, and what they should believe. It is the parent so many parents are not, and unless conservatives want Hollywood raising a generation of reflexive liberals with no sense of personal responsibility, conservatives need to depoliticize the film industry to re-establish a cultural balance. That's where this book comes in.

"The Conservative Guide To Films" will help you understand what makes a film conservative or liberal. It will help you understand how the two ideologies present themselves and how to spot them. It will debunk a great many liberal boogeymen and it exposes Hollywood liberal hypocrisies. This is a book for anyone with an interest in films, culture, and politics.

Chapter 1: Why Political Messages In Films Matter

Chapter 2: Defining Conservatism & Liberalism

Chapter 3: How To Spot A Film's Ideology

Chapter 4: Conservative Myths: It's Not As Political As You Think
Is The Evil Corporate Villain Really Anti-Capitalist?
Are Missing Parents Anti-Marriage/Anti-Family?
Why Are There No Islamic Terrorists?
Is Gun Violence Anti-Gun?
Is Anti-War Always Anti-Military or Unpatriotic?
Chapter 5: Debunking Liberal Boogeymen
The Bloodthirsty Military
The Evil Businessman
The Republican Lobbyist
The Unreality of Guns
The European/Christian/Military Terrorist
Fascist Capitalists
Japanese Internment
Domestic Violence Demographics
The Southern Death Penalty
Chapter 6: Discussing Liberal Films
In Time (2011)
John Q (2002)
Norma Rae (1979)
The Grapes of Wrath (1940)
The China Syndrome (1979)
Erin Brockovich (2000)
The Day After Tomorrow (2004)
Battle for Terra (2007)
Avatar (2009)
The Abyss (1989)
The Golden Compass (2007)
Do The Right Thing (1989)
Thelma & Louise (1991)
The Green Mile (1999)
12 Angry Men (1957)
Chapter 7: A Note On Liberal Sucker Punches
Paul (2011)
The Invention of Lying (2009)
Machete (2010)
The Men Who Stare At Goats (2009)
Happy Feet (2006) & Happy Feet Two (2011)
The Other Guys (2010)
Source Code (2011) & Flightplan (2005)
Punisher: War Zone (2008)
Chapter 8: A Note On Backfiring Messages
The Guns of Navarone (1961)
Wall Street (1987)
Chapter 9: Discussing Conservative Films
Brazil (1985)
WALL-E (2008)
Rollerball (1975)
The Incredibles (2004)
Gladiator (2000)
Dirty Harry (1971) & Magnum Force (1973)
Blade Runner (1982)
Drumline (2002)
The Blind Side (2009)
Battle: Los Angeles (2011)
Smokey And The Bandit (1977)
Adventures In Babysitting (1987)
Ghostbusters (1984)
Harry Potter (1997-2011)
Chapter 10: Compare And Contrast: Conservative vs. Liberal Films
Dirty Harry (1971) vs. The Star Chamber (1983)
High Noon (1952) vs. Outland (1981)
Platoon (1986) vs. We Were Soldiers (2002)
Apocalypse Now (1979) vs. Apocalypse Now (Redux) (1979/2001)
Star Trek (1966-1969) vs. Star Trek: The Next Generation (1987-1994)
Chapter 11: Hollywood's Liberal Hypocrisy
Anti-Gun Hollywood Promotes Gun Violence
Feminist Hollywood Is Sexist
Hollywood Environmentalism Isn't So Green
Hollywood Racism
Political Correctness Goes Awry
Chapter 12: What Do We Do Now?
[+]

Tuesday, August 26, 2014

Summer of Films: Odd Thomas (2013)

When I ran across Odd Thomas the other day, I honestly wasn’t sure what to expect. Marketed as a mystery-thriller by horror author Dean Koontz, it struck me right away that this didn’t appear to be a horror movie. It wasn’t a mystery either. Nor did it look like a thriller. It obviously wasn’t aimed at the tent-pole crowd either, or the film-snob crowd. So what was it? Well, perhaps the best way to describe it is as a quirky film about a likeable guy in a quasi-horror-comedy.


Like the kid in The Sixth Sense, the hero of this film, Odd Thomas (Anton Yelchin), can see dead people. Only, in this film, Thomas is an adult and he uses his abilities to catch the people who killed the dead people: “I see dead people, but then, by God, I do something about it.” Helping him in this regard are his supportive girlfriend Stormy (Addison Timlin) and the Chief of Police (Willem Dafoe), who knows about his abilities and trusts him completely – this thankfully avoids the “the police think I’m the bad guy” cliché.
As the story opens, Thomas captures a killer. He then tells us about something he calls “bodaks,” which are like shapeless, see-through creatures that feed on upcoming horror. Thomas can see these too, but he warns us that if they know that you can see them, they will kill you. He tells us that there is usually only one bodak at a time and that he rarely sees them, typically less than one per month. As he tells us this, a man walks into the diner where Thomas works. This man is surrounded by bodaks and more are coming all the time. This means the man will do something truly horrible.

As Thomas investigates the man, who Thomas nicknames Fungus Bob, he uncovers a plot to kill a lot of people, which meshes with a dream he has in which he sees a bowling team get murdered. As he investigates, Thomas discovers that the plot is larger than he originally expected.
Why I Recommend This Film

In the opening paragraph, I called this a horror-comedy, but that’s not really all that accurate. For one thing, this film isn’t scary. There are a few moments where some tension is created, but that’s about it. Instead, the film goes for tense and even that is alleviated by the comedic overtones of Yelchin’s narration and the utter lack of fear displayed by the supporting characters. That said, the film isn’t a comedy either. There are a few moments that might make you laugh, like how Willem Dafoe seems to be having sex every time Thomas calls him, but it’s nothing that will make you laugh out loud and there aren’t any jokes you will recall.

So if this isn’t a horror-comedy, and it’s not a mystery or a thriller or a tent-pole film, what is it? Well, I’d say this is a quirky film along the lines of the original Fright Night or An American Werewolf in London. This is a film that thrives by giving you an unusual character you like, who goes through an adventure involving something unnatural and they must use their unusual traits and their ingenuity to solve the movie. And while you know the film will definitely end well for the hero, what holds your interest is the steadily rising challenge the character faces, the odd twists and turns along the way, and the fact you like the character and the world they inhabit.
Fortunately, that works out well here. Thomas is very likeable and his narration makes him even more likable, it gives the film a comfortable feeling like a friend is telling you a story. The other characters are likeable as well. Importantly, this film has none of the unpleasant ideas often tossed in to ratchet up the drama, e.g. the fight with the frustrated girlfriend, the unbelieving police deciding to arrest the hero, the insanely angry boss, the lost best friend, etc. Thus, there is no phony unpleasantness tossed in to damper the flow of the story. Instead, the film focuses on the plot itself. In that regard, the story moves well and proves quite surprising despise your knowledge that Thomas will solve the film. In fact, the film is full of little surprises throughout as things you expect to happen one way happen another way or don’t happen at all, and I can say that I was not able to guess where the film was headed at any particular moment, even though I knew how it needed to end. All of this makes for an engaging and enjoyable film, and that is the best way to describe this film: it is entertaining. It isn’t much more than that, but that’s enough to make a film worthwhile.

That said, I should provide a note of caution. Films like this tend to be cult films. Either you have a taste for this type of film, or you don’t. Either you get the humor, which is quite subtle, or you don’t. Either you can stomach the ambiguity throughout, or you can’t, as the film does not force-feed you everything you need to know. The critics hated this film, giving it a 34% rating, but I suspect this film will find its audience and will be recognized as a cult classic within a decade.


** As an aside, this one may be difficult to find. It's on Netflix and DVD, but legal issues apparently kept it out of theaters.
[+]

Friday, August 22, 2014

Margin Call (2011) v. Wall Street 2: Money Never Sleeps (2010)

Wall Street was an amazing film. Yes, it was Oliver Stone’s attempt to slander the 1980’s and Reaganism, but Stone misfired and what he created instead was a film that captured the thrill of the 1980’s and sent a generation of kids to finance school to become his villain Gordon Gekko. Since that time, Stone’s ability as a filmmaker has faded. In 2010, he went back to Wall Street to see if he couldn’t steal some of his prior glory. He couldn’t. The movie he created was overly complex, meandering and stupid. It stood for nothing really. The movie he should have made was Margin Call.

Margin Call is one of those financial films that will scare most people away just by its description: “Huh, some guys who create something called asset-backed securities find out their assets are worthless and they don’t know what to do about it. Shoot me now... let’s watch Transformers.” In reality though, this is an excellent film that is worth seeing, even for people with no idea what an asset-backed security is. Moreover, this film very simply explains what happened in 2008 and how the financial world came crashing down.
Margin Call begins when junior risk analyst Peter Sullivan (Zachary Quinto) discovers that a group of assets the firm holds are worth far less than they paid for them. They are worth so little, in fact, that the losses on these assets alone (which are bought on margin) would bankrupt the firm if the world knew their true value. And in that regard, Peter and his boss (Paul Bettany) realize that the world will discover the truth within days. They tell the firm’s higher ups.
This sets off a series of events as senior firm personnel are called in even though it’s late night to come up with a strategy to deal with this crisis. A strategy is slowly developed to dump as many of these assets as possible at the opening of the trading day, no matter what the loss on these sales. This will destroy the firm’s reputation and the reputation of its traders, but it is the only way the firm will survive. In the process of developing this strategy, the film does an excellent job of explaining what asset-backed securities are how the firm was blindsided by their collapse in value, and you see a good deal of infighting, moralizing, struggling with hard decisions, and the lining-up of fall guys and scapegoats. The end result is a surprisingly gripping film, driven by a strong cast: Jeremy Irons, Stanley Tucci, Kevin Spacey, Simon Baker, Demi Moore, etc., which gives you a fairly accurate insight into how the financial crisis of 2008 began and how it played out at its very beginning.
By comparison, Money Never Sleeps is convoluted fantasy. It is Oliver Stone’s attempt to make you hate Gordon Gekko the way he wanted you to hate him after Wall Street. Essentially, the story of Money Never Sleeps is that Stone resurfaces from prison and finds his estranged daughter (Carey Mulligan). He claims he wants to rebuild his relationship with her. Coincidentally, she’s dating Shia LaBeouf, who is a trader at an investment firm. Shia is trying to raise money for a nuclear fusion project which would provide the world with massive amounts of clean energy. Unfortunately, Shia keeps getting blocked by Josh Brolin, who runs another Wall Street bank.
Gekko comes to Shia’s aid by telling him that Brolin is the enemy. Brolin, coincidentally, profited from the collapse of Shia’s old firm, which also led to the suicide of Shia’s old boss. Shia seeks revenge by spreading rumors he thinks will hurt Brolin’s firm. Brolin is somehow impressed by this and bizarrely hires Shia. Shia takes the job because he wants to avenge his boss’s suicide. He then uses his new position to get the Chinese to finance the fusion project. Everyone is happy.

Shia then learns that the Chinese (through Brolin) have betrayed him by investing in solar panels and fossil fuels instead of fusion. He is sad again. Gekko then proposes an alternative plan. All Shia needs to do is to convince Gekko’s daughter to give Gordon access to the $100 million trust fund he left her in Switzerland, and they could fund the project themselves. Naturally, he agrees because this is for a good cause. Of course, the daughter agrees too... and then Gordon steals the money and re-establishes himself on the street as a hedgefund manager. This was apparently the plan all along, no matter how Rube Goldbergian it was. Gordon won’t even give the money back in exchange for normalizing his relationship with his daughter and his new grandson because HE IS EVIL, people!!! (“F*** you idiots need to finally see that! He used his daughter!! How much more obvious can I make this?!!” – Oliver Stone)
As this story stumbles along, we are told that the collapse of Shia’s firm started the financial crisis. This led to a bailout of Brolin’s firm, which Brolin got because he dines with the regulators. But don’t worry, Gekko’s daughter runs an obscure website and she publishes the story of how Brolin caused everything, which causes Brolin to give back $1.1 billion and puts him under scrutiny by the government. Then Gekko gives the $100 million to the fusion people and they all reconcile. Yay.

These movies couldn’t be more different. Margin Call is accurate. It is cutting. It is dramatic. You don’t know what is going to happen, but you can’t pull your eyes away from the screen as these people, who seem decent in good times, turn into sharks when things go wrong and they find themselves balancing their own futures, the existence of the firm, the welfare of the employees, the welfare of the market, and the harm to the country. Each of them handles this differently, and that makes them fascinating to watch as they struggle with how to survive this likely career-ending crisis.
Most interestingly, none of them were villains when they caused this crisis, but some now become villains... or are they? Indeed, while it is easy to see them as rotten, the real question you keep asking yourself is if you would actually do anything differently at this point. That idea makes this a truly soul searching, gripping story as you place yourself into the shoes of these characters and you wonder how you would handle being them. Would you be more noble? Is there even anything more noble you could do? What could you live with? What could you ask of others? These are all fascinating questions which are brought on by this film.
Wall Street, by comparison, is a joke. It has zero accuracy in terms of the financial crisis. It feels like Stone took a couple contradictory paranoid ideas, invented a villain, and then spun a fantasy which he thinks is damning but comes across as fringy and silly. He seems to suggest that the financial crisis is the result of a villain or two spreading lies about other company’s assets and thereby causing a panic. That’s ridiculous. At the same time, the story meanders on this point as it is only told to us in asides to the Shia v. Gekko story, and that story is ridiculous. The idea that Gekko orchestrated a plan which involved people being framed and fired and committing suicide and a nation-threatening financial crisis just to get at his daughter’s trust fund through her boyfriend is ludicrous.

The long and the short of it, is that I had no idea what to expect when I watched Margin Call and I found myself glued to the screen. This film felt like a mix of the best parts of Wall Street and Glengary Glenn Ross. It was tense, interesting, and informative. You feel like you understand the financial crisis so much better by the time the film is over and you find yourself both despising these people but wondering if you would have acted any differently. It is a brilliant film.

Money Never Sleeps, on the other hand, is a film you should skip. It is only a reminder of how much Stone has lost as a storyteller.

[+]

Wednesday, August 20, 2014

Guest Review: Transcendence (2014)

by ScottDS

What happens when you take an A-list cast, a tantalizing concept, and an Oscar-winning cinematographer making his directorial debut? Unfortunately, you get Transcendence, a dull-as-dishwater thriller that opened to tepid reviews earlier this year. Loathe as I am to agree with the critics, they were right about this one.

Johnny Depp and Rebecca Hall play Will and Evelyn Caster, scientists working on the world’s first sentient computer. Will predicts such a computer will eventually create a singularity (the hypothesis that artificial intelligence will one day exceed human intelligence). During a presentation, Will is shot by a member of an anti-technology terrorist organization (RIFT, or Revolutionary Independence from Technology). With only a few weeks to live, Evelyn decides to upload Will’s consciousness into the neural network they’d been working on. Will’s best friend and fellow scientist Max (Paul Bettany) protests: “It won’t be Will… humankind isn’t ready for this…” Max is subsequently captured by Bree, leader of RIFT, and eventually joins their crusade. The government is also suspicious of the Caster’s situation.
Evelyn and Will – now in virtual form (à la Max Headroom) and connected to the Internet – build a techno-utopia in the small desert town of Brightwood. Will seeks to improve humanity and is able to use nanoparticles to improve the health of Brightwood’s residents, even restoring one man’s sight. But Evelyn soon has misgivings when she finds out that these people are now “networked” and can be controlled by Will. As his influence grows, RIFT develops a virus that can shut him down – the downside is that it will destroy any and all networked technology. The characters are presented with a choice: destroy Will, or risk being “assimilated” even as he improves the world. Evelyn carries the virus to Will, who has now reconstituted in human form, but she’s fatally injured during a RIFT attack. Now Will has a choice: let her die but continue to infect civilization, or upload her consciousness and the virus along with it. He chooses the latter: they both die and the technological world as we know it collapses.
This movie just… sits there. It’s not terrible but it’s not very good, either. The script (by first-timer Jack Paglen) raises some interesting questions and there are a few sparks of creativity, but what this film really needed was what I call the “conference room scene.” The characters speak in clichés and “movie speak” and what was missing was a serious philosophical discussion, or a series of such discussions, the kind Michael Crichton was so great at writing. (I’ve always said I’d love to see a stage version of Sphere, with the characters just sitting around a table debating science for two hours.) The topic of artificial intelligence has been done so much better elsewhere. I’ve read comparisons to The Lawnmower Man but I’ll also throw in the Star Trek: TNG episode “The Nth Degree.” Hell, this movie is pretty much a dramatic re-telling of the third act of Superman III, with Depp playing both the Richard Pryor and Robert Vaughn roles!

After reading this article, it’s clear that something was lost along the way. Paglen’s original script was on the Black List (no, not that list – this Black List is a yearly compilation of the best unproduced spec scripts). It featured some cool action set pieces with nano-engineered “super soldiers” as well as a love triangle between Will, Evelyn, and Max. The final film features no love triangle, and no big set pieces. Sure, there are some pyrotechnics courtesy of the RIFT goons… and that’s it. No super soldiers, just modified humans who don’t do much of anything. Since Will’s intentions were only benign, I suppose the filmmakers were hesitant to have him kill anyone. And if this was supposed to be some kind of twist (he’s not evil, he’s good!), then it was completely lost on me. At no point did I think Will would turn to the dark side. This film takes such a microscopic view of things – there’s no sense of dread or impending doom. We see nano-particles traveling along wind currents and forests re-growing and it’s like, “Gee, Will’s plan doesn’t sound so bad!” We also get a flash-forward at the beginning where we see Max in a tech-free future. So there… now we know how it ends, thirty seconds after the opening logo. What a horrible miscalculation!
Believe it or not, Depp can play regular people. He’s done it before. In this movie, he’s just dull. Truthfully, he’s better at playing the AI than a flesh and blood human being. Rebecca Hall is even worse as Evelyn. I couldn’t recall seeing her before but after looking at her credits, it turns out I’ve actually seen her in several movies. She’s either so good that she blends right in, or she’s so terrible that I am incapable of remembering her! She is also dull. Paul Bettany probably makes the best impression as Max, but how much better would this movie be if he were actually in love with Evelyn? Morgan Freeman sleepwalks through this movie as a friend and colleague of the Casters. Cillian Murphy is wasted as an FBI agent. Kate Mara is a non-entity as Bree. As mentioned in the previously-linked article, all the actors play the same emotion. Everyone here has one mode: dour. There’s no Spielbergian sense of discovery or creativity, and no humor.
Wally Pfister is a cinematographer by trade. He’s shot all of Christopher Nolan’s films since Memento and won an Oscar for Inception. Even with Nolan on this film as an executive producer, Pfister doesn’t contribute anything unique. Anyone could’ve directed this movie and while watching it, I couldn’t help but think what David Fincher would’ve done with it, or even Nolan himself. (I imagine a Nolan-directed version of this film would be equally dour, but there might be a few more sparks of genius within.) To be fair, there have been cinematographers who’ve successfully crossed over to directing, including Barry Sonnenfeld and Nicolas Roeg. Even Jan de Bont hit it out of the park with Speed… then he had to go and make Speed 2. Perhaps Pfister was ill-suited to the material. Or maybe he should’ve made his directing debut with something smaller. In fact, considering how they revised the original script, this movie could’ve benefited from being a smaller-budget B-movie. Perhaps we should wait for the inevitable SyFy Channel version with Lorenzo Lamas and Traci Lords!

As per usual, tech stuff is all top-notch. The Brightwood facility looks pretty cool, all sterile white and endless corridors. The cinematography is pleasant, though Pfister relies a little too much on “artsy” shots of water droplets and dewy windows, as if to say THIS MOVIE IS IMPORTANT! The score is droning background noise. The CGI nano-particles are petty neat, though. At the end, Bettany visits the Caster’s old house and notices a drop of water falling off a flower petal and into a puddle of oil… which is instantly cleansed. All of this takes place underneath Will’s home-made Faraday cage (a copper mesh which blocks electromagnetic fields). So perhaps there is hope after all?

Not for this movie.
[+]